Amazing to think that John Field, an eighteenth century Irish composer, travelled all the way to Russia, braving all the hardships associated with long distance travel at that time, settled there, married and had an illegitimate son (Leon Leonov) later a famous tenor as well as a pianist son, Adrian, by his wife, Adelaide percheron, a French pianist and former pupil.
He had moved to London by 1793, where he became a pupil of Muzio Clementi (1752-1832) and travelled with him to Paris, Vienna and St Petersburg, where Clementi left, and Field settled in Moscow.
We tend to associate nocturnes with Chopin (1810-1849) and Liszt (1811-1886) but they had been very much influenced by Field’s work – his 18 nocturnes in particular.
As well as going back to Bach’s Prelude and Fugue No II, I have started to play Field’s delightful Nocturne No 5. Not difficult to play, but hard to play well.
I have a number of modern classical pieces as well as jazz and blues in my repertoire but my favourites are the Baroque and Classical composers – Bach, Clementi, Scarlatti, Haydn and Beethoven, but above all Bach (1685-1750). There is something both pure and passionate about his music.
This term I shall be playing his 2-part inventions. Written as teaching aids he labelled them as the ‘ method by which amateurs of the keyboard – especially, however, those desirous of learning – are shown a clear way not only (1) to learn to play cleanly in two parts, but also, after further progress, (2) to handle three obligate parts…’ I particularly love Invention #13 BWV 784.
To the cognoscenti the dull mid-blue cover with black printing and no images immediately says that I shall be working from a G. Henle Verlag Urtext edition – editions which have the least added dynamics etc. This version was printed in 1978 and edited by Rudolf Steglich and with fingering by Hans-Martin Theopold – most of which I use.